Andries Mpho Moroaswe (b. 2002, Mashite Village) is a Johannesburg-based visual artist and printmaker whose practice investigates the architecture of generational memory. A graduate of theUniversity of Johannesburg, Moroaswe centers his work on "labour after memory"—the enduring physical and psychological residues of exploitation on black bodies, often manifested in the remnants of domestic and abandoned labour spaces. While grounded in printmaking specifically intaglio (drypoint and etching ) and screen printing, Moroaswe’s practice is increasingly defined by his intensive use of drawing on tracing paper. Through repetitive, labor-intensive mark-making, he utilizes this fragile material to perform an act of endurance, physically mirroring the resilience of the subjects he depicts. This process-driven approach transforms archival tools of restriction into active surfaces, allowing him to navigate and fill the"archival silence" of history.

Moroaswe’s rising profile in the contemporary art market is marked by his selection as a 2026 finalist for both the Blessing Ngobeni Art Prize ,where his residency-related projects were showcased at the Latitudes Art Fair and the JSE and the Sasol New Signatures competition. Having developed his technical voice under the mentorship of established artists including Diane Victor, Gordon Froud, andDavid Paton, his exhibition record includes End Points at The Viewing Room (2026), Flesh and Façade at Candice Berman Contemporary (2025), and Transfigurations (2025). His work, which honours the complex, often-omitted truths of South Africa’s past, is held in private collections including those of Gordon Froud, Rae Wilmot, and Gillian Anstey.